Randerscheinung is the title of Judith Schwinn's second solo exhibition at KUTTNER SIEBERT Galerie. Randerscheinung (Marginal Phenomenon) is also the title of a work series of new drawings where marks can be found on the margins, while most of the paper is left almost empty. The term describes being placed on the sidelines and also a coincidental importance in the system of values. Looking at the drawings, the center of a sheet of paper would be the compositional fixed point and the margins would only be used for narrative additions. By way of the broad emptiness of her drawings, however, Judith Schwinn subverts these expectations. Instead, this raises the question of whether the overwhelming nothingness corresponds to something not graspable that the artist is at least trying to approach, whether the absent is the subject of her actual interest in terms of a phenomenological analysis. Yet are the drawings truly only visual tools to lend form to the invisible aspect of an existential experience? These lines would thus be a detail whose structure was somehow essential, yet not very important in its drawn dimensions, in the analysis of its size, shape, and color. Following the idea of its insignificant shape, it is all the same obvious that these marks are the only thing that gives vitality to the drawing. It is only in their fragility that meaning develops. And then, the admission follows that the artist is giving shape to a general lack of definition, but not to the absolute void. The fragile structures require a microscopic view and the fine branches threaten to dissolve before our eyes: with a view of the surrounding space, this relationship seems true to life in a wonderfully artful way, because the visual power withdraws in the same moment of its beholding and a relationship of tension emerges with the synchronicity of contradictory moments. The drawing is testimony to a specific moment and mirror of a condition, and in the cautious approach a meandering path of possibilities is also explored.